Author Archives: Lois Svard

More music for a time of uncertainty

Classical music critic Michael Andor Brodeur wrote in The Washington Post this morning about why classical music is so important during this time of crisis, and why classical musicians are creating a new space for themselves in the virtual world. His article, In a time of uncertainty, classical music provides a sense of permanence, is a must-read.

Brodeur’s article links to several virtual performances including one by the Cunningham Piano Online Ensemble. Before clicking on the link, I assumed this would be a piano ensemble, but Cunningham Piano is a piano showroom and music school outside of Philadelphia.  The Online Ensemble is made up of 111 musicians from 9 countries performing Mozart’s choral motet “Ave Verum Corpus.”  The virtual ensemble includes students, amateurs, and even a few musicians from The Philadelphia Orchestra in a moving performance.  The West Australian Social Distancing Orchestra (WASDO) performs a “Bit o’ Bolero,” two and a half minutes of Ravel’s Bolero. There are also links to performances from Norway, Spain, Netherlands, Colorado, and more.   Continue reading

Music for our self-isolating times

A friend remarked yesterday that artists are really stepping up during this pandemic, aware that the arts bring people together during times of crisis.  We’ve all seen the videos of Italians singing from their balconies in solidarity and in appreciation to health care workers.  The web is full of playlists and suggestions for listening, and you may be listening to more music than you usually do as you shelter in place or self-isolate at home. Many arts organizations are providing suggestions for listening or viewing, even as they are losing substantial income by having to close down.   Continue reading

Music, synchronization, and teamwork

My husband and I happened to be in Minneapolis a month ago just as the Minnesota Orchestra was beginning its 2019-2020 season, and we went to the opening concert.   The concert, with music by Rautavaara, Grieg, Carter, and Elgar, opened with The Star-Spangled Banner, and all 1800 people in the audience immediately rose to their feet and began singing.  Minnesota has a strong choral tradition, everyone sang at full voice, and the sound of those 1800 voices nearly lifted  me off my feet.  It was an emotional experience, and even though I didn’t know anyone there, the singing together of the national anthem made me feel part of a larger community.  And, in fact, studies show that people who make music together are more likely to cooperate and feel more connected as a group.

The business world has long been aware of  “connectedness through music” and has used string quartets as examples of “self-management teams.”  Many string quartets supplement their musical performance schedules with presentations to companies and organizations exploring teamwork, problem solving, reliability, trust, discipline, and flexibility within the quartet as an example of how an excellent small team works.  You hear the result of that group “connectedness” in the music as they perform.  Success depends on an extraordinary level of teamwork. Continue reading

Musicians are not “the athletes of small muscles”

Musicians are often compared to athletes because, like athletes, we practice a lot, we use repetitive motions, and we’re often performing or playing under stress.  Unfortunately, within the past few years, the comparison with athletes has led to referring to musicians as “the athletes of small muscles.”   I don’t know where this phrase originated, but we need to stop using it.  Not only is the phrase somewhat dismissive of musicians, it simply isn’t accurate.  Continue reading

I got rhythm, I got music. . . I got READING

Why study music, cont.

George and Ira Gershwin wrote the famous “I Got Rhythm, I Got Music” in 1930.  Little did they know that, over 80 years later, a neuroscientist named Nina Kraus and her colleagues at the Auditory Neuroscience lab (Brainvolts) at Northwestern University would show a connection between rhythm, music — and reading.  Before we get to the reading part, let’s digress for a few moments and talk about synchronization and rhythm.

Timing and rhythm

Most of us are able to keep time to a beat.  We dance to music, we clap to a beat, we tap our fingers to a catchy tune – even if we’re hearing it in our mind. Synchronizing to a beat is about timing – matching your beat at the exact point in time to the sound of someone else’s beat or to a musical beat.  One must precisely match a sound (auditory) with a movement (motor).

Even infants love to move to music.  They hear music and their entire bodies begin  to move. Infants can’t synchronize exactly because they don’t yet have the muscle control to match the auditory signal, but the twins below are clearly hearing the beat and their bodies want to move to it.  The impetus to move to music is universal.  Continue reading

Are musicians better at identifying emotional cues in others?

Why study music: part IVa

About ten years ago, I was startled by a headline that, in essence, said if you wanted a spouse or friend who picked up your most subtle emotional cues, find a musician.  Intrigued, I tracked down the research behind the article and discovered the work of Dr. Nina Kraus, Director of the Auditory Neuroscience Lab (Brainvolts) at Northwestern University.

The Lab was already known at that time for its work on the neurobiology of music and speech perception (see previous post).  This particular study found that, not only were musicians better able to process the emotion in sound than non-musicians, but the ability was directly related to the number of years of experience of the musician and the age at which he/she began to study. Continue reading